In order to truly understand ethnic theatre in the United States, one must understand the context with which minorities have lived in while here. Unsurprisingly, color has played a major role in determining the fate of many Americans, past and present. However, there are many more factors that have come to define the American experience for many groups of people. Socioeconomic status, IQ, geographic region, time, and place all represent an interconnected web that has influenced the way these groups live. Most of these factors, unfortunately, have been the result of discrimination. For instance, slaves, once freed, were never really given a viable option to lead successful lives in the south. This has had a lasting effect on the southern blacks whom occupy the region today. Many other marginalized groups around the country have encountered similar (if not varied) results. This is where ethnic theatre comes in. One of the most positive effects ethnic theatre had was on the way it brought together the community. It was a way for these underrepresented classes of people to express themselves freely without fear of violence or retribution. They were places of education, where younger, more "Americanized" minorities could learn about their cultural history. Many others used theatre as an escape. In this way, ethnic theatre was a necessity for these people. It was a way to evade the perils and pitfalls of real life, even just for a moment. Got into a dispute with your white landlord? Go to the theatre and watch him get what he deserves. Always wanted to know what it feels like to fall in love? Go to Paris for the night with the woman of your dreams. Ethnic theatre provided a necessary escape for many immigrants who needed it.
The roots of ethnic theatre can be traced back to the early Native Americans, who performed in rituals and celebrations that were centuries old. Blacks brought song and dance with them during the first slave voyages to the New World. With each identifiable group came its own set of performance. Examples of these include German theatres in the 1840's, Norwegian and Swedish theatres in the 1860's, Chinese theatres in the 1870's, and Polish theatres in the 1890's. During their peak, ethnic theatre hit its stride within its specific groups. Ethnic theatre showed how great life could be. On the opposite (but no less positive) note, ethnic theatre also showed how life might not be as bad as once thought. It helped many to appreciate the blessings they had in their own lives. Ethnic theatre was also huge for its support of women. There was no such thing as a "women's place" in ethnic theatre. It was one of the few places women could not only make a living but acquire power, prestige, and independence on their own.
As great as ethnic theatre was for the community, however, many people would soon turn their attentions to other things. For instance, the invention of the radio and television allowed many to experience entertainment without the need to leave their home. There was also another reason ethnic theatre was on the decline. Many of the immigrants who had came to America years before began to have children of their own, and many of these children would begin to find themselves more associated with Western-American ideas than with those of their ancestors. There was, for all intents and purposes, a general lack of interest from further generations
However, ethnic theatre would find a resurgence yet again after World War II. There would be a further resurgence after the Vietnam War. Marginalized groups such as African and Asian Americans would begin to again use theatre as a way to vent their frustrations and protest the injustices of the realities of the day. Ethnic theatre would also find more funding behind it as well, this time by the US government. This allowed ethnic theatre to gain a much stronger foothold in America. However, as the years continued, there just wasn't a central need for ethnic theatre as in generations previous. Optimism remains though, as the next generation of actors, directors, playwrights, and viewers are beginning to experience ethnic theatre for themselves through university programs and national theatre associations. With these new developments, ethnic theatre may, hopefully, keep its place as a driving force for American culture.
The roots of ethnic theatre can be traced back to the early Native Americans, who performed in rituals and celebrations that were centuries old. Blacks brought song and dance with them during the first slave voyages to the New World. With each identifiable group came its own set of performance. Examples of these include German theatres in the 1840's, Norwegian and Swedish theatres in the 1860's, Chinese theatres in the 1870's, and Polish theatres in the 1890's. During their peak, ethnic theatre hit its stride within its specific groups. Ethnic theatre showed how great life could be. On the opposite (but no less positive) note, ethnic theatre also showed how life might not be as bad as once thought. It helped many to appreciate the blessings they had in their own lives. Ethnic theatre was also huge for its support of women. There was no such thing as a "women's place" in ethnic theatre. It was one of the few places women could not only make a living but acquire power, prestige, and independence on their own.
As great as ethnic theatre was for the community, however, many people would soon turn their attentions to other things. For instance, the invention of the radio and television allowed many to experience entertainment without the need to leave their home. There was also another reason ethnic theatre was on the decline. Many of the immigrants who had came to America years before began to have children of their own, and many of these children would begin to find themselves more associated with Western-American ideas than with those of their ancestors. There was, for all intents and purposes, a general lack of interest from further generations
However, ethnic theatre would find a resurgence yet again after World War II. There would be a further resurgence after the Vietnam War. Marginalized groups such as African and Asian Americans would begin to again use theatre as a way to vent their frustrations and protest the injustices of the realities of the day. Ethnic theatre would also find more funding behind it as well, this time by the US government. This allowed ethnic theatre to gain a much stronger foothold in America. However, as the years continued, there just wasn't a central need for ethnic theatre as in generations previous. Optimism remains though, as the next generation of actors, directors, playwrights, and viewers are beginning to experience ethnic theatre for themselves through university programs and national theatre associations. With these new developments, ethnic theatre may, hopefully, keep its place as a driving force for American culture.